AaronChicago

Thats the IBIS. I usually turn it off when i have the camera/lens on a shoulder rig but that day i was carrying just the GH5 body and lens.

I decided to shoot a short sequel to my GH4 VLog video "Chicago." Recorded internal at 8 bit on the GH5. Handheld with IBIS. V Log L.
 

I decided to shoot a short sequel to my GH4 VLog video "Chicago." Recorded internal at 8 bit on the GH5. Handheld with IBIS. V Log L.
 

Ha. Well that previous shot of the guy in front of a bookshelf is for a client, and might take 2-3 weeks till its up. This one above I'm going to try and edit tomorrow.

I shot another video with the GH5 and SLR Magic 50mm 2x anamorphic prime. Calling it Chicago II. Here is one frame that is my favorite.
 

I decided to shoot a short sequel to my GH4 VLog video "Chicago." Recorded internal at 8 bit on the GH5. Handheld with IBIS. V Log L.
 

I like it. Was the setup hard to work with? What taking lens were you using?

Wow, that did come down nicely. How much usable DR do you think the GH5 has? Also, being a UM46 owner and a GH5 owner, how do you think they compare... if they're even comparable at all?
Btw, I would love to learn a little about the color work. It has a modern sepia tone look to it. Very interesting. 

I decided to shoot a short sequel to my GH4 VLog video "Chicago." Recorded internal at 8 bit on the GH5. Handheld with IBIS. V Log L.
 

I decided to shoot a short sequel to my GH4 VLog video "Chicago." Recorded internal at 8 bit on the GH5. Handheld with IBIS. V Log L.
 

Really nice work Aaron. I was a fan of your original Chicago film and this is a fitting sequel. 
The good, the bad and the ugly...
The Good - excellent color work, you are really making that GH5 shine!!!
The Bad - the boat was a little hot, but that would have been a hard shot without letting that creep around 100 IRE. So the bad is actually a testament to exposing that difficult shot so well.
The Ugly - the moire is crazy. Is that only in 4K 8bit or is there a lot of moire in the other codecs as well?
But I was stretching to even make a complaint because the whole piece looked excellent. I wish you guys would stop trying to get me to spend my money. 
I wanted to add that the composition is amazing. That subway shot is a work of art. I'd love to see a B&W version of it. 

I shot another video with the GH5 and SLR Magic 50mm 2x anamorphic prime. Calling it Chicago II. Here is one frame that is my favorite.
 

I shot another video with the GH5 and SLR Magic 50mm 2x anamorphic prime. Calling it Chicago II. Here is one frame that is my favorite.
 

Aaron, enough of these. This is your second post with awesome screenshots within one week. And again no moving images. How can you do this to us?
When will you be showing us some of that kewl footage?

I shot another video with the GH5 and SLR Magic 50mm 2x anamorphic prime. Calling it Chicago II. Here is one frame that is my favorite.
 

I shot another video with the GH5 and SLR Magic 50mm 2x anamorphic prime. Calling it Chicago II. Here is one frame that is my favorite.
 

I shot another video with the GH5 and SLR Magic 50mm 2x anamorphic prime. Calling it Chicago II. Here is one frame that is my favorite.
 

I shot another video with the GH5 and SLR Magic 50mm 2x anamorphic prime. Calling it Chicago II. Here is one frame that is my favorite.
 

Wow! That looks very nice!

I shot another video with the GH5 and SLR Magic 50mm 2x anamorphic prime. Calling it Chicago II. Here is one frame that is my favorite.
 

I think he is targeting Netflix for making a hard + fast rule of 4K camera acquisition only. It's easy to say 4K is top quality for a consumer, but that is only a fraction of the variables. It's much easier than advertising "Shot with Arri Master Prime" or "Shot with Cooke Speed Panchro but mastered in 6K so it all equals out".

Not allowing the Amira and standard Alexa is straight up moronic. The upscaled 4K in it thrashes the pants of plenty of native 4K sensors in terms of look and detail. I've had them side by side plenty of times.
Looking through the list and numbers and so on, the word that comes to mind is "arbitrary"
Also demanding Alexa 65 with Arriraw as the only acceptable Arri format when nearly every feature film is shot on Arri... and plenty on Alexa ProRes... it seems more like a political alliance with other manufacturers against Arri dominance than much else.
Which is silly, they're dominant because their product is the best. Thought the Varicam is arguablly as good if it gets the uptake.
 
 

Just shot an ad for a bank using the GH5 and SLR 2x anamorphic 50mm prime. This is pretty much my go-to combo right now outside of the Ursa + Sigma Cines.
 

The blacks are not crushed actually ?

The blacks are crushed!!! The blacks are crushed!!!  Joking...Really nice image Aaron! Keep us up to date, now im curious to see the final result.